Information art

Information art (or 'informatism' ) is an emerging field of electronic art that synthesizes computer science, information technology, and more classical forms of art, including performance art, visual art, new media art and conceptual art. [Edward A. Shanken has argued that little scholarship has explored the relationship between technology and conceptual art. He also claimed that there was an art-historical impetus to artificially distinguish information art from conceptual art. Edward A. Shanken, ‘Art in the Information Age: Technology and Conceptual Art,’ in Michael Corris (ed.), Conceptual Art: Theory, Myth and Practice (Cambridge: Cambridge University Press, 2004.] Information Art often includes interaction with computers that generate artistic content based on the processing large amounts of data. [See Charlie Gere "Art, Time and Technology: Histories of the Disappearing Body" (Berg, 2005). ISBN 978-1845201357 This text concerns artistic and theoretical responses to the increasing speed of technological development and operation, especially in terms of so-called ‘real-time’ digital technologies. It draws on the ideas of Jacques Derrida, Bernard Stiegler, Jean-François Lyotard and André Leroi-Gourhan, and looks at the work of Samuel Morse, Vincent van Gogh and Kasimir Malevich, among others.]

Background

Informatism follows on the 1970 exhibition organized by Kynaston McShine called "Information", held at the Museum of Modern Art in New York City - a show that formally established conceptual art as a leading tendency in the United States. This tendency then spread widely throughout the world. This conceptual trend followed on the activities of Experiments in Art and Technology known as E.A.T. [E.A.T. followed from the event Nine Evenings: Theatre and Engineering, organised by Robert Rauschenberg and Billy Klüver at the Armoury Building, New York City, 13–22 October, 1966 to promote the collaboration between artists and engineers. They also organised the Pepsi Pavilion at the World’s Fair, Osaka, in 1970. For a detailed discussion of the project see Bijvoet, Art as Inquiry, ch. 2.]

Artistic practice

Information art data can be manifest using photographs, census data, micropayments, personal profiles and expressions, video clips, search engine results, digital painting, network signals, and prose. [cite journal|author=McKeough, Tim|title=Frame That Spam! Data-Crunching Artists Transform the World of Information|url=http://www.wired.com/special_multimedia/2008/ff_dataart_1603|date=February 29, 2008|journal=Wired|issue=16.03|publisher=CondéNet|accessdate=2008-03-05]

References

Further reading

* Alan Liu (2004). "The Laws of Cool: Knowledge Work and the Culture of Information", University of Chicago Press
* Roy Ascott (2003). Telematic Embrace. (Edward A. Shanken, ed.) Berkeley: University of California Press. ISBN 0-520-21803-5
* Barreto, Ricardo and Perissinotto, Paula [http://www.file.org.br/the_culture_of_immanence.doc “the_culture_of_immanence”] , in Internet Art. Ricardo Barreto e Paula Perissinotto (orgs.). São Paulo, IMESP, 2002. ISBN 85-7060-038-0.
* Jack Burnham, (1970) Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of this Century (New York: George Braziller Inc.
* Bullivant, Lucy (2006). Responsive Environments: architecture, art and design (V&A Contemporaries). London:Victoria and Albert Museum. ISBN 1-85177-481-5
* Bullivant, Lucy (2005). 4dspace: Interactive Architecture (Architectural Design). London: John Wiley & Sons. ISBN 0-470-09092-8
* Oliver Grau, [http://leonardo.info/isast/leobooks/books/grau.html "Virtual Art, from Illusion to Immersion"] , MIT Press/Leonardo Books, 2004, pp. 237-240, ISBN 0262572230
* Paul, Christiane (2003). "Digital Art" (World of Art series). London: Thames & Hudson. ISBN 0-500-20367-9
* Peter Weibel and Shaw, Jeffrey, "Future Cinema", MIT Press 2003, pp. 472,572-581, ISBN 0262692864
* Wilson, Steve [http://leonardo.info/isast/leobooks/books/wilson.html Information Arts: Intersections of Art, Science and Technology Information Arts: Intersections of Art, Science, and Technology] ISBN 0-262-23209-X
* Kynaston McShine, "INFORMATION", New York, Museum of Modern Art., 1970, First Edition. ISBN: LC 71-100683
* Jack Burnham, ‘Systems Esthetics,’ Artforum (September, 1968); reprinted in Donna de Salvo (ed.), Open Systems: Rethinking Art C. 1970 (London: Tate, 2005)
* Edward A. Shanken, ‘Art in the Information Age: Technology and Conceptual Art,’ in Michael Corris (ed.), Conceptual Art: Theory, Myth and Practice (Cambridge: Cambridge University Press, 2004).
* Marga Bijvoet, (1997) Art as Inquiry: Toward New Collaborations Between Art & Science, Oxford: Peter Lang
*Frank Popper (1993) Art of the Electronic Age, Thames and Hudson Ltd., London, and Harry N. Abrams Inc, New York, ISBN 0-8109-1928-1
*Pavilion: Experiments in Art and Technology. Klüver, Billy, J. Martin, B. Rose (eds). New York: E. P. Dutton, 1972
* Dick Higgins, ‘Intermedia’ (1966), reprinted in Donna De Salvo (ed.), Open Systems Rethinking Art c. 1970 (London: Tate Publishing, 2005)
* Nicolas Bourriaud, Relational Aesthetics (Dijon: Les Presses du Réel, 2002, orig. 1997)
* Charlie Gere "Digital Culture" (Reaktion, 2002) ISBN 978-1861891433

See also

* Systems art
* Digital art
* Computer art
* Conceptual art
* Software art
* Systems thinking
* Algorithmic art
* Roy Ascott
* Knowledge visualization
* Experiments in Art and Technology

External links

* [http://online.sfsu.edu/~infoarts/links/wilson.artlinks2.html Intersections of Art, Technology, Science and Culture- Links]
* [http://www.artnode.org/index_frame.html The Danish Artnode Foundation-Links]
* [http://www.file.org.br (FILE)] Electronic Language International Festival.
* [http://www.leonardo.info Leonardo/The International Society for the Arts, Sciences and Technology]